Chart Beat
Page: 95
Taylor Swift’s The Tortured Poets Department holds atop the Billboard 200 chart (dated June 22) for an eighth consecutive and total week. The set earned 128,000 equivalent album units earned in the U.S. in the week ending June 13 (down 14%), according to Luminate.
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Poets is the first album to spend its first eight weeks at No. 1 since Morgan Wallen’s One Thing at a Time led for its first 12 weeks a year ago (March 18-June 3, 2023-dated charts). Of Swift’s 14 No. 1s on the Billboard 200, Poets ties Folklore with eight weeks on top; only 1989 and Fearless, with 11 each, have more weeks at No. 1 among Swift’s leaders.
Meanwhile, Swift adds her 77th career week at No. 1 on the Billboard 200, extending her record among soloists. (Elvis Presley has the second-most among soloists, with 67.) The total encompasses her 14 leaders. (She’s tied with Jay-Z for the most No. 1s among soloists.)
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Also in the top 10 of the new Billboard 200, Charli XCX scores her highest-charting album ever as Brat bows at No. 3; Bon Jovi secures its 14th top 10 with the No. 5 arrival of Forever; and Chappell Roan reaches the top 10 for the first time, as The Rise and Fall of a Midwest Princess climbs 12-10.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new June 22, 2024-dated chart will be posted in full on Billboard‘s website on June 18. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.
Of The Tortured Poets Department’s 128,000 equivalent album units earned, SEA units comprise 104,000 (down 14% — it’s No. 1 on Top Streaming Albums for an eighth week; its SEA units equal 135.53 million on-demand official streams of the deluxe edition’s 31 songs), album sales comprise 23,000 (down 13%) and TEA units comprise 1,000 (down 11%).
Billie Eilish’s Hit Me Hard and Soft rises 3-2 on the Billboard 200 in its fourth week, matching its debut and peak position, with 106,000 equivalent album units earned (down 9%).
Charli XCX achieves her second top 10 on the Billboard 200, and her highest-charting album yet, as Brat debuts at No. 3 with 82,000 equivalent album units earned (also her best week by units). Of that sum, album sales comprise 45,000 (her largest sales week ever), SEA units comprise 37,000 (equaling 46.72 million on-demand official streams of its deluxe edition’s 18 songs; her biggest streaming week yet) and TEA units comprise less than 1,000.
Charli XCX previously visited the top 10 with Crash, which debuted and peaked at No. 7 in 2022.
Brat was led by the single “Von Dutch,” which debuted and peaked at No. 7 on Billboard’s Hot Dance/Electronic Songs chart.
The album’s first-week sales were supported by its availability across 14 vinyl variants (mostly color variants, two were issued in deluxe editions containing collectible paper ephemera, one of which also housed a bonus 7-inch vinyl), which added up to 34,000 copies sold on vinyl — Charli XCX’s biggest week on vinyl. The set was also issued as a standard CD, a signed CD and as a deluxe boxed set containing a branded T-shirt and a CD. On June 10, the album was reissued as a deluxe digital download and streaming album with three bonus tracks.
Morgan Wallen’s chart-topping One Thing at a Time is a non-mover at No. 4 on the new Billboard 200 with 72,000 equivalent album units earned (up 2%).
Bon Jovi collects its 14th top 10-charting effort on the Billboard 200 as Forever starts at No. 5. The set earned 52,000 equivalent album units, of which album sales comprise 50,000 (it’s the top-selling album of the week and debuts at No. 1 on Top Album Sales), SEA units comprise 2,000 (equaling 2.31 million on-demand official streams of the 12 songs on the streaming edition of the set) and TEA units comprise a negligible sum.
The new album was led by the single “Legendary,” which reached the top 10 on the Adult Contemporary airplay chart (the band’s seventh top 10 and highest-charting song on the tally since 2011) and the top 15 on the Adult Pop Airplay ranking.
Forever’s first-week sales were supported by its availability across 11 vinyl variants (mostly color variants; three had collectible paper ephemera contained inside, one of which was a signed edition), four CD editions (a standard set, two with alternative cover art, and one that was signed), a cassette tape, a standard digital download album, and a deluxe digital download edition with two bonus tracks that was sold via the band’s official webstore starting June 8.
Bon Jovi made its Billboard chart debut just over 40 years ago, when the single “Runaway” debuted on the Mainstream Rock Airplay chart dated Feb. 11, 1984. Two weeks later, the band made its Billboard 200 debut with its self-titled album entering the Feb. 25, 1984-dated list at No. 178, on its way to a No. 43 peak that April.
In total, Forever marks the 22nd charting album on the Billboard 200 for Bon Jovi. The band first reached the top 10 in 1986 with Slippery When Wet, their first of six No. 1s. They have notched new top 10s in the 1980s, ‘90s, 2000s, ‘10s (adding their latest leader with This House Is Not for Sale in 2016) and now the ‘20s. Bon Jovi is the fifth group to achieve a newly-charting top 10 album on the Billboard chart in each of the last five decades, joining AC/DC, Def Leppard, Metallica and U2.
ATEEZ’s Golden Hour: Part.1 falls 2-6 in its second week on the Billboard 200 (45,000 equivalent album units earned, down 66%); Wallen’s former leader Dangerous: The Double Album slips 6-7 (44,000; up 1%); Noah Kahan’s Stick Season dips 7-8 (42,000; down 1%); and Shaboozey’s Where I’ve Been, Isn’t Where I’m Going falls 5-9 in its second week (41,000; down 17%).
Closing out the top 10 is a new arrival to the region, as Chappell Roan’s The Rise and Fall of a Midwest Princess pounces 12-10 with 40,000 equivalent album units earned (up 26%). The set posted double-digital percentage gains in album sales (8,000; up 87%), streaming equivalent album units (32,000; up 16%) and track equivalent album units (a negligible sum, though up 23%).
The album and artist has been basking in the glow of recent press coverage stemming from the singer-songwriter’s buzzy performance at the 2024 Governor’s Ball on June 9 (the third day of the chart’s tracking week), which prompted a shout-out from Ariana Grande.
Princess reaches the top 10 in its 12th week on the chart. It’s atypical for an album would climb into the top 10 for the first time, as most albums that peak in the top 10 debut in the region. The last current (non-catalog) album to climb to the top 10 for the first time after 12 or more chart weeks was Noah Kahan’s Stick Season, which bolted 100-3 on the June 24, 2023-dated list, in the set’s 29th chart week, after it was reissued in a deluxe edition and pressed on vinyl for the first time. Before that, the last non-catalog set to reach the top 10 after at least 12 chart weeks was Doja Cat’s Hot Pink, which rallied 19-9 on the May 16, 2020-dated chart — during the album’s 27th chart week. The set zoomed up the list following the release of a remix of the album’s “Say So” featuring Nicki Minaj.
Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.
Kenny Chesney banks his record-padding 33rd No. 1 on Billboard’s Country Airplay chart as “Take Her Home” hikes from No. 4 to the summit on the survey dated June 22. It increased by 13% to 30.1 million audience impressions June 7-13, according to Luminate.
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Since Country Airplay launched in January 1990, Tim McGraw ranks second with 29 No. 1s, followed by Blake Shelton with 28.
“Home” was written by Zach Abend, Hardy and Hunter Phelps. Chesney co-produced it with Buddy Cannon. It’s the lead single from Chesney’s album Born, which arrived at its No. 5 high on Top Country Albums in April, becoming his 22nd top 10.
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Chesney notches his first Country Airplay No. 1 since Kelsea Ballerini’s “Half of My Hometown,” on which he’s featured, led for a week in March 2022. The Knoxville, Tenn., native first reigned with “She’s Got It All,” his ninth of 97 entries, for three frames beginning in August 1997. He also shares the record with George Strait for the most top 10s – 61 – dating to his first, “Fall in Love” (No. 6, July 1995). McGraw places third with 60; he ranks at No. 21 with his latest single, “One Bad Habit” (9.1 million, up 4%).
Chesney is currently on tour, set to make his next stop at Soldier Field in Chicago on June 15 with special guests Zac Brown Band, Megan Moroney and Uncle Kracker.
Higher ‘Help’
Post Malone’s “I Had Some Help,” featuring Morgan Wallen, ascends 3-2 on Country Airplay in just its sixth week on the survey (29.7 million, up 10%). The collaboration wraps the speediest trip to the top two since Garth Brooks’ “More Than a Memory” launched at No. 1 in September 2007, becoming the only hit in the survey’s 34-year history to debut at the summit.
“Help” also pushes 8-7 on Adult Pop Airplay and 10-8 on Pop Airplay. It has spent four weeks running at No. 1 on the multimetric Billboard Hot 100 and Hot Country Songs charts (through the lists dated June 15).
Additional reporting by Gary Trust.
ATEEZ scores its third No. 1 on Billboard’s Top Album Sales chart (dated June 15) as Golden Hour: Part.1 opens atop the tally with 127,000 copies sold in the U.S. in the week ending June 6, according to Luminate. That sum marks both the largest sales week for any K-pop album in 2024, and the year’s fifth-largest sales week among all albums.
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Also in the top 10 of the latest Top Album Sales chart: The Marias log its first top 10 with the No. 4 debut of Submarine, Crowder’s The Exile enters at No. 7, Shaboozey nets his first chart entry with the No. 8 start of Where I’ve Been, Isn’t Where I’m Going and Black Sabbath’s boxed set Anno Domini: 1989 – 1995 bows at No. 10.
Billboard’s Top Album Sales chart ranks the top-selling albums of the week based only on traditional album sales. The chart’s history dates back to May 25, 1991, the first week Billboard began tabulating charts with electronically monitored piece count information from SoundScan, now Luminate. Pure album sales were the sole measurement utilized by the Billboard 200 albums chart through the list dated Dec. 6, 2014, after which that chart switched to a methodology that blends album sales with track equivalent album units and streaming equivalent album units. For all chart news, follow @billboard and @billboardcharts on both Twitter and Instagram.
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Golden Hour: Part.1’s first week sales were largely powered by CD sales, as the set was available in 25 CD variants, along with six vinyl variants, all containing branded paper merch and other collectibles. It was also issued as standard digital download album.
Taylor Swift’s chart-topping The Tortured Poets Department rises 3-2 on Top Album Sales with 27,000 copies sold (down 35%), while Billie Eilish’s Hit Me Hard and Soft climbs 4-3 with 25,000 (down 39%).
The Marias score its first top 10 and largest sales week yet as Submarine starts at No. 4 with 17,000 copies sold. Its sales were supported by eight vinyl variants (which totaled 15,000 of its overall sales), a standard CD, a CD with an alternative cover, and a boxed set containing a T-shirt and a CD.
Twenty One Pilots’ Clancy falls 1-5 in its second week on Top Album Sales with 12,000 sold (down 90%) while TOMORROW X TOGETHER’s chart-topping minisode 3: TOMORROW is a non-mover at No. 6 with 8,000 sold (down 11%).
Crowder collects his fourth top 10-charting set on Top Album Sales as The Exile bows at No. 7 with 8,000 sold. In its first week, the album was issued as a standard CD, a signed CD and a standard digital download album.
Shaboozey scores his first entry on Top Album Sales, with his third album, as Where I’ve Been, Isn’t Where I’m Going debuts at No. 8 with nearly 8,000 sold (all from digital downloads). RM’s Right Place, Wrong Person falls 2-9 with just over 7,000 sold (down 83%).
Rounding out the top 10 is Black Sabbath’s boxed set Anno Domini: 1989 – 1995, which bows at No. 10 with 7,000 sold.
Eminem’s “Houdini” launches at No. 1 on Billboard’s Streaming Songs chart dated June 15, the rapper’s first ruler since 2018. “Houdini” debuts with 48.8 million official U.S. streams earned in the week ending June 6, according to Luminate. It gives Eminem his first No. 1 on Streaming Songs, which began in 2013, since “Lucky You,” […]
Creepy Nuts’ “Bling-Bang-Bang-Born” rises again to No. 1 on the Billboard Japan Hot 100, climbing 4-1 on the chart released June 12 to extend its record to 17 weeks atop the tally.
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The return of the hip-hop duo’s long-running hit to the top spot follows Billboard Japan’s 2024 mid-year report, where the MASHLE Season 2 opener was crowned the top song on 13 different lists, a first for any song in the history of the Japan charts. Perhaps due to the impact of this news, points for radio airplay increased 1.8 times from the previous week, which helped keep the decrease in point total for the track at a minimum. “BBBB” returns to No. 1 after three weeks.
NCT DREAM’s “Moonlight” debuts at No. 2. The title track off the K-pop boy band’s second single launched with 253,965 copies to hit No. 2 for sales, while also coming in at No. 4 for radio.
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Mrs. GREEN APPLE’s “Lilac” follows at No. 3. The song climbs 5-3 with increases in downloads, streaming, karaoke, and radio points. Mrs. GREEN APPLE ruled the mid-year Japan Artist 100 chart and currently still has 12 tracks charting on the Japan Hot 100 this week. The three-man band dropped a new song called “Columbus” digitally on Wednesday (June 12), which will likely join the list of the popular trio’s hits.
Omoinotake’s “IKUOKUKONEN” also rises 9-4 this week. The piano trio released “Tsubomi” on June 12, the track being featured as the ending theme of the anime series My Hero Academia Season 7, and has been promoting it through various channels including Instagram Live.
Bowing at No. 5 on the Japan Hot 100 is Strawberry Prince’s “Chikai no hanataba wo ~With You~.” The track hit No. 1 for sales with 502,921 CDs sold but didn’t score any additional points in the other metrics of the chart’s measurement.
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Sakurazaka46’s “Jigoujitoku” debuts at No. 10. The popular girl group’s ninth single dropped digitally on June 5 and came in at No. 14 in downloads, No. 5 for streaming, and No. 9 for video views.
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The Billboard Japan Hot 100 combines physical and digital sales, audio streams, radio airplay, video views and karaoke data.
See the full Billboard Japan Hot 100 chart, tallying the week from June 3 to 9, here. For more on Japanese music and charts, visit Billboard Japan’s English Twitter account.
Tommy Richman’s “Million Dollar Baby” becomes the first song to lead the TikTok Billboard Top 50 chart for at least five straight weeks, linking together its fifth frame in a row on the June 15 survey.
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The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity June 3-9. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50.
With five weeks at No. 1, “Million Dollar Baby” now sits one week from the reign of Mitski’s “My Love Mine All Mine,” which tallied six weeks atop the tally in late 2023. Mitski’s rule was split into two three-week segments at No. 1.
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“Million Dollar Baby” initially broke out on TikTok after Richman’s uploaded what eventually became a viral clip on the platform containing the then-unreleased song on April 13 (the video now has nearly 13 million views as of June 13).
Since its official release April 26, the song has been featured in a dance trend that has dominated its uploads since the end of April.
“Million Dollar Baby” has reached No. 2 on the multimetric Billboard Hot 100 so far; it ranks at No. 3 on the latest list via 45.2 million official U.S. streams, 35.2 million radio audience impressions and 7,000 downloads in the week ending June 6, according to Luminate.
Sexyy Red and Drake’s “U My Everything” lifts to No. 2 on the TikTok Billboard Top 50 in its second week. It continues to benefit from a trend where the user asks their significant other how many likes on TikTok they need for something to happen (to buy them something, to get back together, etc.)
The song falls to No. 49 after debuting at No. 44 on the Hot 100, accruing 9.5 million streams, 1.8 million audience impressions and 1,000 downloads.
Lay Bankz’s “Tell Ur Girlfriend” falls to No. 4, while Billie Eilish’s “Birds of a Feather” rises to No. 3. The latter remains a runaway hit from Eilish’s new album, Hit Me Hard and Soft, sporting a continued rise on charts weeks after the LP’s May 17 release. Its “Birds of a feather/ we should stick together” refrain is used to soundtrack creators’ uploads featuring friends, family and pets.
“Birds of a Feather” earned 28.4 million streams, 985,000 audience impressions and 3,000 downloads. The former metric is enough for the song to rise to No. 1 on the Alternative Streaming Songs chart, Eilish’s ninth ruler.
Kendrick Lamar’s “Not Like Us” ranks at No. 5 on the TikTok Billboard Top 50, while 310babii, OhGeesy and BlueBucksClan’s “Rock Your Hips” debuts at No. 6. Originally released May 3, “Rock Your Hips” has vaulted in TikTok activity thanks to a dance trend.
“Rock Your Hips” is 310babii’s second song to chart, following “Soak City,” which peaked at No. 17 last November. The tune accrued 883,000 streams in the week ending June 6.
One other song debuts in the top 10: Sabrina Carpenter’s “Please Please Please,” which saw its official release on June 7. The track was initially teased on TikTok on June 5, garnering 2.8 million views to date, while a post-performance video after Carpenter played Governors Ball in New York has more than 12 million watches so far.
As for uploads not from Carpenter herself, many of the top-performing uploads featuring “Please Please Please” include makeup tutorials, lip synchs and more.
The full impact of “Please Please Please” will be represented on the Billboard charts dated June 22.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
Carín León celebrates the week’s highest debut on Billboard’s Top Latin Albums and Regional Mexican Albums charts (dated June 15) as Boca Chueca, Vol. 1, comes in at No. 8 and No. 5, respectively. The 19-track set launches with 9,000 equivalent album units earned in the U.S. in the week ending June 6, according to Luminate.
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“Very happy to debut on the Billboard charts with this album that we love very much, and I am especially surprised with the results it is having,” León tells Billboard. “I am delighted to be able to show a little more of the music that we have and that we carry in our hearts.”
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On Top Latin Albums and Regional Mexican Albums, units comprise album sales, track equivalent albums [TEA] and streaming equivalent albums [SEA]. Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.
Boca Chueca, Vol. 1’s first week sum is driven almost entirely by streaming activity. That figure equals 12.05 million official on-demand audio and video streams for the album’s songs this week, while a negligible amount of activity comes from album sales and track-equivalent units.
With Boca Chueca, the Mexican singer-songwriter mirrors his best showing to date on both charts: his fourth studio album follows 2023’s Colmillo De Leche, which reached an equal No. 8 and No. 5 high on Top Latin Albums and Regional Mexican Albums charts, respectively.
Elsewhere, León outdoes his previous showing on the all-genre Billboard 200, where Boca Chueca debuts at No. 169, surpassing the No. 184 peak of Colmillo.
On Billboard’s songs charts the set was preceded by one song on the multi-metric Hot Latin Songs chart, which combines streaming data, airplay and digital sales: “The One (Per No Como Yo),” with Kane Brown, debuted and peaked at No. 29 on the March 16-dated list.
As the album launches, “Despidase Bien” debuts at No. 29 on the current tally mainly on the strength of streaming activity. The song logged 2.5 million official U.S. streams in the tracking week.
“I think the song that I identify with the most, a song that is a little risky but that feels great in our desire to make music, is ‘Despidase Bien,’ with its soulful nuances and gives a refresh to our type of R&B with its very regional lyrics and by mixing all these types of genres and sounds that are a big part of the project that is Carin León,” adds León.
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Danny Ocean’s wish is granted as the Venezuelan achieves his first No. 1 on a Billboard chart with “Amor.” The pop-dembow tune surges 10-1 on the overall Latin Airplay chart and 2-1 on the Latin Pop Airplay ranking (dated June 15).
“What makes me happiest, beyond my name being there, is that a Venezuelan is at No. 1,” Ocean tells Billboard. “This is a project that has always honored love.”
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“Amor” takes the crown with 8.7 million audience impressions, up 54%, on U.S. reporting radio stations during the May 31-June 6 tracking week, according to Luminate.
Thanks to the 54% percentage surge on airplay, “Amor” wins the Greatest Gainer honor, awarded weekly to the song with the largest gain in impressions among the chart’s 50 titles. Among the song’s biggest supporters, New York’s WXNY leads the way in the latest tracking week, Puerto Rico’s WKAQ comes second, while Los Angeles’ KXOL rounds out the top three.
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“Amor,” one of 12 tracks on Ocean’s third studio album, Reflexa, completes a five-week journey to the top on Latin Airplay, having debuted at No. 45 on the chart dated May 18. Thus, it takes second-fastest rise to the summit among the ranking’s 21 rulers in 2024, after Xavi’s “La Diabla” which reached the penthouse in its third week (chart dated Feb. 10).
Only one song achieved the feat faster: Shakira and Cardi B’s “Puntería” debuted atop the list dated April 6. Here’s the recap of those songs that needed the least weeks to land at No. 1 on Latin Airplay in 2024:
Weeks To Position, Title, Artist, Reached On1, “Puntería,” Shakira & Cardi B, April 6 (debut)3, “La Diabla,” Xavi, Feb. 105, “Amor,” Danny Ocean, June 157, “Por El Contrario,” Becky G with Leonardo Aguilar & Angela Aguilar, March 97, “(Entre Paréntesis),” Shakira & Grupo Frontera, May 18
As “Amor” hits No. 1 on Latin Airplay, it pushes Alejandro Fernández and Alfredo Olivas’ “Cobijas Ajenas” from the lead, with a 33% drop in impressions, to 5.9 million.
Over on Latin Pop Airplay, with “Amor” Ocean outdoes his prior best showing of No. 5 for “Miedito o Qué?,” with Ovy On The Drums and Karol G, in Jan. 2021.
On a hybrid level, with “Amor” Ocean secures his fourth entry on the multi-metric Hot Latin Songs, which combines airplay, streaming data and digital sales. Debuts at No. 49 thanks to its radio haul.
Welcome to Billboard Pro‘s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: Sabrina Carpenter’s latest single looks to take her breakout year to an even-higher level, while Franz Ferdinand get their biggest hit Top Gun‘d and a joke song becomes a real viral hit.
Sabrina Carpenter Readies Second Summer Smash With “Please Please Please”
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Sabrina Carpenter season is in full effect. As “Espresso” continues to dominate, “Please Please Please,” the second single from Carpenter’s forthcoming Short n’ Sweet LP, has emerged as yet another smash for the pint-sized pop star.
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According to Luminate, “Please” collected over 5.7 million official on-demand U.S. streams during each of its first four days of release, climbing to a new peak 7.77 million streams on June 10. In its first four days of release, the breezy country-inflected tune earned a whopping 25.6 million streams and sold just over 4,000 digital downloads.
“Please” is obviously riding the continued success of “Espresso” — which is currently enjoying a seventh non-consecutive week in the Billboard Hot 100’s top ten – but the Jack Antonoff-produced track isn’t solely relying on those coffee-stained coattails. In addition, Carpenter’s stock is rising thanks to her key opening slots on Taylor Swift’s Eras Tour and her frequently viral “Nonsense” outros, “Please Please Please” benefits from a cinematic new music video starring her boyfriend, Oscar-nominated actor Barry Keoghan. The visual serves as a sequel to that of “Espresso,” with Bardia Zeinali directing the Bonnie and Clyde-esque clip, which has earned over 19 million views in under a week.
Like “Espresso,” “Please” has also earned a viral moment thanks to its pitch-perfect songwriting, with the “Heartbreak is one thing, my ego’s another/ I beg you, don’t embarrass me, motherf–ker” lyric garnering ample traction across socials. Users have been using the lyric as a caption for pictures of film characters such as Zendaya’s Tashi Ducan (from 2024’s Challengers) and Rosamund Pike’s Amy Elliott Dunne (from 2014’s Gone Girl). On TikTok, the official “Please Please Please” sound boasts over 32,6000 posts, while an unofficial sound soundtracks a further 32,200 clips. The song also got an additional boost from its live debut on Saturday, during Carpenter’s buzzy set at New York’s Gov Ball festival.
During the weekend of June 7-10, Carpenter’s catalog (aside from “Please”) also pulled in an additional 38.5 million official on-demand U.S. streams, posting a 35% jump in streaming activity from the same period the week prior (May 31-June 3, 28.6 million streams). With her new LP due at the end of the summer (Aug. 23), the pop supremacy of Sabrina Carpenter seems to be just getting started. – KYLE DENIS
Be All That You Can Be…. With Franz Ferdinand?
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Franz Ferdinand’s 2004 alt-rock classic “Take Me Out” has long proven to have any number of practical uses — for car-ride singalongs, workout playlists, indie dance nights and countless other real-life applications. One context that the Scottish quintet likely never saw their signature hit landing in, though, is as the soundtrack to pro-U.S. military edit on TikTok, via the account phoenix.mw. The CapCut-produced clip delivers a rapid-fire montage of U.S. military operations, set to a sped-up version of the Franz song’s action-packed intro, and has been viewed over eight million times on the app, with 1.4 million likes. It’s also inspired a trend, set to the same sped-up Franz sound, of users claiming they’d never join the military, before encountering the original military edit and having their minds changed (or at least confused).
Deeper jingoistic implications aside, the edit and ensuing trend have had the positive impact of inspiring listeners to uncover (or rediscover) the still-brilliant 20-year-old indie staple. Through the first four days of this tracking week, Jun. 7-10 — as the trend really started to take off on TikTok — the song racked up nearly 1.6 official on-demand U.S. streams, a 35% gain from the equivalent period the week before, according to Luminate. The song’s daily streams are still rising, and may not be stopping anytime soon — at least if you go by the number of new comments on the song’s official YouTube page along the lines of “I liked the song so much that I just signed up for the military” or “I’m enlisting f–k it.” – ANDREW UNTERBERGER
Girl on Couch Rides Offhand TikTok Quip Into Streaming Hit
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On April 30, TikTok user @girl_on_couch (Megan Boni) stumbled into a massive meme when she improvised a novelty song with the lyrics, “I’m looking for a man in finance/ Trust fund, 6’5”/ Blue eyes.” That video has since garnered over 44.7 million views and earned a remix from David Guetta, who released his version of the song on June 7.
Before that remix, however, Girl on Couch teamed up with EDM duo Billen Ted for “Man In Finance (G6 Trust Fund),” which earned just over 210,000 official on-demand U.S. streams in its first week of release (May 17-23), according to Luminate. Two weeks later (May 31-June 6), those numbers more than doubled to 490,000 streams, setting the stage for an even bigger boost with the arrival of the David Guetta remix. In its first weekend of release (June 7-10), Guetta’s remix of “Man In Finance” helped the song top 705,000 streams, a 168% increase from the weekend prior (May 31-June 3; 263,000 streams).
While the Billen Ted’s official “Man In Finance” sound plays in just under 5,000 posts on TikTok, a live performance video from Guetta’s Brooklyn Mirage set has earned over 103,000 views on YouTube in just five days. The meme might be running out of gas, but now users have an actual song to listen to, as per the caption of Boni’s original TikTok. “Can someone make this into an actual song plz just for funzies,” she quipped.
With a new label deal – a licensing agreement for this specific vocal – on her hands, Boni may not have much use for a “Man In Finance” after all. — K.D.
The Contenders is a midweek column that looks at artists aiming for the top of the Billboard charts, and the strategies behind their efforts. Next week (for the upcoming Billboard Hot 100 dated June 22), a recently minted new pop superstar has two songs that could take over the top spot next week.
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Sabrina Carpenter, “Please Please Please” & “Espresso” (Island/Republic): Sabrina Carpenter’s set at New York’s Gov Ball music festival on Saturday (June 8) was something of a coronation, as the ascendant pop star played to a headliner’s-worthy crowd in the late afternoon, creating near-hysteria in Flushing Meadows Corona Park with her now-hits-filled set. It helped that she also had a brand-new hit to play live for the first time: the slapping, pleading and unexpectedly twangy “Please Please Please.”
“Please” was released just the Friday before, along with a buzzy video starring her now-confirmed real-life paramour, Oscar-nominated Saltburn star Barry Keoghan. By the time of her Saturday performance, the song had already gone viral, proving particularly catchy on TikTok for its radio-unfriendly chorus hook “Heartbreak is one thing, my ego’s another/ I beg you don’t embarrass me, motherf—ker.” (Signs held up in the audience read “Please please please play ‘Please Please Please.’”)
Trending on Billboard
While the song was immediately successful on streaming, Carpenter’s Gov Ball set (which also caught a good deal of online interest) just poured gasoline on the fire — helping the song reach the top of the daily and real-time charts for both Spotify and Apple Music, as its video continued to reign on YouTube’s Trending for Music page. It has only continued to grow on DSPs in the days since, netting over 5 million daily U.S. plays on Spotify as of Tuesday. The song has been less immediately dominant in sales and radio airplay, but has also reached the top 10 on iTunes’ real-time chart, and is starting to get some early curiosity spins on the airwaves, led by SiriusXM’s Hits 1 channel.
But of course, the bigger the song gets, the more traffic it runs into from her current piping-hot smash: “Espresso,” which slips 5-6 on this week’s Hot 100 (dated June 15), but which is also up across the board following the release of “Please” and Carpenter’s Saturday festival set. On Spotify, the song is No. 2 behind “Please” on its Daily Top Songs USA chart, while rating at No. 5 on Apple Music’s real-time chart. It leads “Please” on iTunes, and obviously it’s way ahead of the new song on the airwaves, having moved into the top 10 on Billboard’s Radio Songs chart for the first time this week. (Incredibly, both songs still trail her Emails I Can’t Send deluxe edition cut “Feather” there, which gently falls to No. 8 on that chart after hitting a No. 5 peak in May.)
Both “Please” and “Espresso” are likely to populate the Hot 100’s top five this week, and may even have a shot at the No. 1 spot. Their chances should depend on how both songs continue to maintain their post-weekend momentum in the final days of the tracking week – or grow even further – with “Please” likely having the inside track between the two songs based on how stratospheric its streaming numbers have already gotten.
Post Malone feat. Morgan Wallen, “I Had Some Help” (Mercury/Republic/Big Loud): Speaking of Gov Ball: The Friday headliner was none other than Post Malone, who of course got a massive reception across the board – particularly for his encore performance of his and Wallen’s current four-week Hot 100-topper, “I Had Some Help.” (No Wallen guest appearance, sadly for those in attendance.) The performance did not have the galvanizing effect on streaming that Carpenter’s had – maybe he could’ve used a brand new song, too, as “Help” was the only new song from Post’s long-hyped country pivot to appear in his Friday setlist – but the song still holds at No. 3 on the Spotify and Apple Music charts, and No. 5 on iTunes.
The key for “Help” maintaining separation from the pair of Carpenter hits is, of course, its still-growing radio dominance. The song holds at No. 5 on Radio Songs this week — up 13% in reach, according to Luminate – and jumps 4-3 on Country Airplay and 14-10 on Pop Airplay. If, as trending, its presence continues to expand on those formats this week, while Carpenter’s hits perhaps have a sort of vote-splitting effect on the airwaves, it would certainly help “Help” in its campaign for an uninterrupted fifth week of Hot 100 ruling.
IN THE MIX
Shaboozey, “A Bar Song (Tipsy)” (American Dogwood/EMPIRE/Magnolia Music): A little further outside of the pop zeitgeist than Posty or Sabrina, Shaboozey’s solo breakthrough smash just continues to get bigger and bigger. While holding in the top five on Billboard’s Streaming Songs and Digital Song Sales charts, it also leaps 22-16 on Radio Songs, with an unusually prolific presence across formats. Billboard’s charts team reports this week that “A Bar Song (Tipsy)” is the first song to be rising in the top 25 simultaneously on the Country Airplay, Pop Airplay, Adult Pop Airplay and Rhythmic Airplay charts — which have coexisted since 1996. The song should continue to contend in the Hot 100’s top five as it keeps rising at radio, meaning it might never be more than a well-timed remix away from making a serious bid for No. 1.
Billie Eilish, “Birds of a Feather” (Darkroom/Interscope/ICLG): “Birds” (No. 11, a new high) passed “Lunch” (No. 13, after reaching No. 5) last week for the highest-ranking of Hot 100 hits from Billie Eilish’s new Hit Me Hard and Soft album – and next week, “Birds” could hit the top 10 for the first time, as it continues building on streaming (No. 3 on Spotify, No. 8 on Apple Music). It is also beginning to soar on radio, with 1.3 million all-format impressions June 7-10, on the back of airplay from early leaders including SiriusXM’s TikTok Radio and Hits 1, KMVQ San Francisco, WWWQ Atlanta and WIHT Washington, D.C.
Chappell Roan, “Good Luck, Babe!” (KRA/Amusement/Island/Republic): Of course, discussion of the overall Gov Ball bump would be incomplete without mention of Chappell Roan, whose headline-grabbing Sunday afternoon set – featuring the singer-songwriter in full Statue of Liberty getup, including green skin paint – has also given her overall catalog a major boost. Leading the way there is newest single “Good Luck, Babe!,” which rises 31-26 on the Hot 100 this week, and should be due for another big jump next frame. Whether or not the song can crack the chart’s top tier may depend on if it can secure further radio support, as “Babe” has yet to make the 50-spot Radio Songs listing, but is getting close – including a No. 31-29 move on Pop Airplay this week.